Objects at Bedside
Calendar, Exhibitions, June 19, Visual arts

Visual Arts: Bedside

7 – 20 June @ Spectrum Project Space, ECU, Mount Lawley ·
Presented by Lucille Martin ·

Bedside is a new exhibition by Australian contemporary artist, Lucille Martin. Martin is an artist working in photo-media, textile and performative practice exploring new frontiers of self-representation to navigate the intersections of art, science and technology.

Martin’s new exhibition, Bedside is an iPhoneographic multi-media installation exploring identity through Documentary participant observational image capture* of her bedside table taken on a daily basis over a three-year period. This multi-media exhibition is a story of female identity through love, loss, place and exploration.

Bedside is about reclaiming identity and how the camera phone becomes an intimate form of stability in that process. In 2017 Martin’s iPhoneography images and the journey she has recorded became the basis of a PhD (Provisional). Martin’s story is currently in production as a documentary work by a filmmaker in Melbourne and her immersive exhibition of images and video work opens at Spectrum Project Space on 6 June. The iPhone camera provides a freedom and accessibility to share in a collective cultural experience, engaging in new ways of working and seeing the world. The images share the intimate and common objects, patterns and repetitious positioning of the ordinary and extraordinary experiences of life toward an expression of universal emotion.

Lucille worked as a freelance artist for Vogue, Harpers, Belle, TV Soap, Penthouse and other fashion magazines during the 90’s. Trained as an Art director she went into professional art practice over 25 years ago. Throughout her awarded career Martin has frequently roamed within the world of documentation and candid display since she shot her first images during the Anti-apartheid riots in South Africa in 1984. It was the launch of her first exhibition, Blind Spots in 1986, in support of her passion for human rights at Sydney’s King Street Gallery and an Australia Council project grant following soon after, which established her award-winning work in Sydney and Perth. Martin’s long career includes significant community development and participation, higher education, pedagogy and policy advocacy.

For further information please contact Lucille on 0407842442

“The everyday and the ordinary are evocative and challenge my desire for self-protection and preservation.  Bedside is vulnerable, personal, universal, uncomfortable and mundane”, Lucille Martin.

An artist talk will take place with Lucille Martin on Thursday 6 June at 5.15pm to be followed by the Official Opening by Ms Geraldine Mellet from 6 – 8pm at Spectrum Project Space, ECU Mount Lawley Campus, Building 3, Room 3.191

Exhibition opening hours:
Tuesday to Friday 10.00am – 5.00pm; Saturday 12.00pm – 5.00pm

More info
W: www.facebook.com/events/462811711122695/
E:  spectrum@ecu.edu.au

Pictured: Bedside courtesy of Lucille Martin

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News, Reviews, Visual arts

A call for change

Review: Olivia Colja (curator), ‘WOMXN’ ·
Spectrum Project Space ·
Review by Miranda Johnson ·

‘WOMXN’, curated by Olivia Colja, is a group exhibition featuring emerging artists from Edith Cowan University (ECU) whose work addresses and interrogates experiences of womanhood and femininity. Coinciding with International Women’s Day, the exhibition also incorporated a day-long conference, Articulate, with a number of presentations from female arts workers and artists, providing a platform for discussion, advocacy and mentorship.

The strong themes of activism, collaboration and community engagement are immediately obvious. Throughout the exhibition there are signs asking for donated sanitary items for women in need, as well as lit candles for every woman who died from male violence in 2018. In this way, the exhibition is more than a platform for some of ECU’s exciting emerging artists to show their work. It’s also a call for lasting change, and suggests some concrete actions to start you on your way.

a bed with blood on it
Daisy Safrasky’s ‘I Bled Four Days’. Photo: Kristy Scadden.

These features of the exhibition also stand as a gesture of acknowledgement that the show’s themes are people’s lived experiences, and the works created emerge from real-life situations of danger, pain, and frustration with structural gender inequality that cannot be left behind upon leaving the gallery space. A work such as Daisy Safrasky’s I Bled Four Days is the manifestation of the burden and trauma carried by victims of sexual assault. A live recreation of the artist’s bed in the centre of the gallery is covered with clothing meticulously embroidered with statements from women who experienced sexual assault. In their stories, a bed is not a place of refuge but of danger – in the gallery space, however, it becomes a platform for sharing experiences and releasing the burden of shame.

A room with pink and red curtains and cushions
Cian Holt’s ‘Womb Room’. Photo: Shona McGregor.

Many works have a particular focus on the handmade, with stitching, embroidery and thread common themes running through the exhibition. Some are understated, delicate works that pack an emotional punch, such as Janice Fawcett’s Kintsugi, an installation of threads and broken crockery that manifests the pain and loss associated with miscarriage. At other times, handcrafts have more expansive, light-hearted associations with traditional feminine – or feminist – imagery. Cian Holt’s Womb Room, for example, is a garishly pink and humorously playful space in which the viewer can rest, relax and unwind.

This focus on vaginal and labial imagery, menstruation and reproduction demonstrates that there is still much concern about the ways in which women’s bodies are represented, restricted and controlled, despite several generations of the feminist project. I felt, however, that the over- over-emphasis on vaginal or menstrual imagery as representing womanhood could alienate some viewers, and that some more nuanced interrogations about the nebulous definitions and interpretations of womanhood itself could be valuable.

However, the common threads running through the exhibition create a thoughtful exhibition that clearly portrays the strong emotional and professional bonds formed by the artists and curators during the conception of the exhibition, and the strength of feeling and clarity of vision associated with the subject matter.

WOMXN’ runs at Spectrum Project Space until March 16.

Pictured top: “Turn and face the strange” by Shona McGregor. Photo: Shona McGregor.

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Trespassing
Calendar, Fringe World, Performing arts, Theatre, Visual arts

Theatre & Visual Arts: TRESPASSING

1 – 22 February @ Spectrum Project Space ·
Presented by Existence Theatre ·

Existence Theatre presents TRESPASSING at Edith Cowan University’s Spectrum
Project Space for Fringe World 2019.

Existence Theatre (Bello Benischauer and Elisabeth M Eitelberger) is the recipient
of the 2019 Spectrum Project Space Artist Residency. This annual program allows
the recipient one-month’s access to Spectrum Project Space at ECU’s Mount
Lawley Campus as a working studio, with the aim of exhibiting new works in
the gallery at the end of the residency. This program is now in its sixth year.

TRESPASSING is based on four different female characters, who speak about the
complexity of gender linked to identity, social interaction, power and oppression;
about the interaction of gender with race, class, culture, religion, sexuality and
consumerism. In monologues, they give insight into their contradicting but daily
routines. While one indulges in a compulsive desire to shop, another tries to build
all her image around her higher education. And whereas one suffers from being
born into a wealthy milieu, another crosses borders fleeing her country to simply
survive.

Known for creating immersive and multi-sensory experiences, Existence Theatre
will again take their audience on an intimate journey to celebrate the
transcultural qualities inherent in contemporary society.

For the past two decades Bello and Elisabeth have utilised video, sound
composition, performance and performance writing to reflect upon particular
socio-political issues and the individuals dealing with them. They create
individual ensembles depending on the work. With projects around the world
they have formed a strong interest in how to comment on transcultural
lifestyle and cultural specifics. They have created work spanning from
video poetry, video/sound installations, interventions in public space,
performance lectures to critical theatre productions with a strong socio-
political message.

Undeniably influenced by developments and currents of European Postdramatic Theatre  and Performance Art, they have a unique way in how to approach themes and audiences, addressing them by raising questions, inviting them to find their own individual access rather than attempting to provide answers with the presented work.

Event details:
The TRESPASSING exhibition and performances will take place from
Friday 1 February to Friday 22 February at Spectrum Project Space,
Mount Lawley Campus, Edith Cowan University.

Artists:
Written, directed, video and sound composition: Bello Benischauer (WA/AT)
Dramaturgy and development: Elisabeth M Eitelberger (WA/AT)
Temporary ensemble: Helah Milroy (WA), Nathalie Boukpeti (WA/FR),
Daniela O’Mara WA/SK) and Alisha Versteegen (WA)

Performances
Dates: 1, 2, 8, 9, 15 and 16 February 2019
Time: 8.00pm (70 min – no interval)
Venue: Spectrum Project Space, ECU Mount Lawley, Building 3, Room 3.191
Cost: Tickets available for $30 online via the Fringe World website.

Exhibition
Date: Friday, 1 February to Friday, 22 February
Time: Tuesday to Friday 10.00am – 5.00pm; Saturdays 12.00pm – 5.00pm
Venue: Spectrum Project Space, ECU Mount Lawley, Building 3, Room 3.191
Cost: The exhibition is free of charge

More info
W:  www.ecu.edu.au/schools/arts-and-humanities/spectrum-project-space/overview
E:   spectrum@ecu.edu.au

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Muslin Banksia
Calendar, November 18, Visual arts

Visual Arts: Double opening for SAH Painting Residency Artists

13 to 23 November @ Spectrum Project Space ·
Presented by Deborah Worthy-Collins & Sharon Callow ·

Two exhibitions by the recipients of the School of Arts and Humanities, Painting Residency 2018 will open at Spectrum Project Space with a double opening on Wednesday, 13 November. The artists Deborah Worthy-Collins and Sharon Callow have each completed a semester long tenure in the Painting Studios at Edith Cowan University, Mount Lawley. The residency program is now in it’s second year, the aim of which is to promote the contemporary practice of painting within an academic institution.

Born from Dust – Deborah Worthy-Collins

In Born from Dust, Deborah Worthy-Collins explores the intersection between life, death, sex and human connection to nature. Through multidisciplinary studio processes, Deborah explores her relationship with these themes as an artist, woman and mother. Her use of cloth, stitching and the process of making references both the historical domestic setting in which birth and death occurred and the intimate connection between these materials and the body. Given the often confronting nature of such taboo subjects, Deborah attempts to bring a quiet and comforting sensibility to her work.

Deborah’s body of work is influenced by the birth, sex and death positive movements. As well as contributing to the broader dialogue occurring within these movements, Deborah aims to initiate conversations about difficult subjects. She hopes that her works will prompt viewers to contemplate their own place within these natural processes, however even more ambitiously she would like to start conversations at the community level to provide opportunities for people to engage with the human life cycle in a more meaningful way.

Insomnia – Sharon Callow

In Insomnia, Sharon seeks to create quiet, contemplative spaces. Begun as a response to insomnia, these are intended to offer a respite from the informational overload and multiple responsibilities entailed in attempting to lead an ethically, socially, politically and environmentally aware existence.
For the insomniac, the craving for sleep is a kind of madness. Sleep becomes an elusive state of nothingness. It holds the promise of rest, comfort, and release from the need to keep abreast of information and obligations from the waking hours: individual and collective responsibilities, the needs of others, consumer choices, and the dilemmas of decision-making.

In this onslaught of incursions, disengagement and solitude seem attractive. Yet retreat is a seductive illusion. Sharon’s works explore the tensions of managing in the individual worlds of our making: balancing the conflicting desires of the self to strengthen, not diminish, one’s selfhood.

Opening event:

Born from Dust and Insomnia will be officially opened by artist and lecturer, Gregory Pryor
Date: Wednesday, 13 November
Time: 6.00pm – 8.00pm
Venue: Spectrum Project Space, ECU Mount Lawley Campus, Building 3, Room 3.191

Artist talk:

Date: Saturday, 17 November
Time: 2.00 – 3.00pm
Venue: Spectrum Project Space, ECU Mount Lawley Campus, Building 3, Room 3.191

Open hours:

Tuesday to Friday 10.00am – 5.00pm
Saturdays 12.00pm – 5.00pm

More info:
W:  www.ecu.edu.au/schools/arts-and-humanities/spectrum-project-space/overview
E:  spectrum@ecu.edu.au

Pictured:
Muslin Banksia by Deborah Worthy-Collins. Image courtesy of the artist.

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Artifacts of the Future
Calendar, November 18, October 18, Visual arts

Visual Arts: Artifacts of the Future

19 Oct – 1 Nov @ Spectrum Project Space ·
Presented by 88147726373 ·

In Artifacts of the Future, Caroline Kerr explores the possibilities that 3D printing presents for contemporary ceramic practice. By combining 3D technologies and traditional studio practices, her work attempts to blur the boundary between the man-made and the machine-made.

This exhibition will be showcased in Spectrum’s Back Gallery running concurrently with Fragility and Strength – Janice Bathurst in the Front Gallery.

To be officially opened by Dr. Nicola Kaye on Thursday, 18 October, 6pm.
Open Tue – Fri 10:00am – 5:00pm and Sat 12:00pm – 5:00pm

More info:
W: www.ecu.edu.au/schools/arts-and-humanities/spectrum-project-space/overview
E:  spectrum@ecu.edu.au

Image courtesy of Caroline Kerr.

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Espresso Self 2018
August 18, Calendar, September 18, Visual arts

Visual Arts: Espresso Self 2018

31 Aug – 15 Sep @ Spectrum Project Space ·
Presented by School of Arts and Humanities, ECU ·

Espresso Self showcases the nexus between creative practice and research, with work by ECU staff being presented to the wider ECU community and general public. Originally conceived as a platform to encourage ECU academics to exhibit their ‘other’ selves, Espresso Self has evolved into a dynamic expression of what it means to engage with creativity in and beyond the research environment.

This year exhibited in three sections:

School of Arts and Humanities, Visual Arts research;
School of Arts and Humanities, research in process/progress; and
ECU, alternate paradigms of the research journey.

Exhibiting artists:

Lyndall Adams, Clive Barstow, Graeme Burge, Claire Bushby, Trevor Cullen, Alistair Edwards, Stuart Elliott, Roxanne Fozard, Louise Gan, Paul Godfrey, George Karpathakis, Nicola Kay and Stephen Terry, Geoff Lummis, Justine McKnight, Marziya Mohammedali, Julia Morris, Amanda Myer, Denise Pepper, Glen Phillips, Marcella Polain, Greg Pryor, Diane Slade, Susan Starcken, Hollie Turner, Paul Uhlmann, Tania Visosevic, Vanessa Wallace, Gillian Willmer.

Event details:

Espresso Self exhibition is open to the public from Tuesday, 31 August to Friday, 14 September at Spectrum Project Space, Mount Lawley Campus, Edith Cowan University with a sundowner event on closing night to coincide with the ECU Mount Lawley Research Week opening.
Sundowner event:  Thursday, 13 September 6 – 8 pm

More info
W:  www.ecu.edu.au/schools/arts-and-humanities/spectrum-project-space/overview
E:   spectrum@ecu.edu.au

Image courtesy of Paul Uhlmann.

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hanging silk
Calendar, Mixed media, November 18, October 18, Visual arts

Visual Arts: Fragility & Strength

18 Oct – 1 Nov @ Spectrum Project Space ·
Presented by Janice Bathurst ·

In Fragility and Strength, Janice Bathurst explores techniques of hand making textile works, photography, sculpture and recycled Jarrah to research her hometown of Yarloop, in the Shire of Harvey. Situated in the southwest of Western Australia, Yarloop was almost destroyed in the devastating fire of 7th January 2016. The artists’ intention is to communicate her thoughts regarding this place and to acknowledge the influence of the itinerant nature of her ‘lifeworld’.

Bathurst’s inspiration for this project comes from the Jarrah tree and her family connection to the timber industry; her life in Yarloop, a town where, prior to the 2016 fire still housed the biggest timber mill and workshops in the southern hemisphere.

Official Opening by Dr. Nicola Kaye on Thursday, 18 October, 6pm.
Exhibition runs Friday, 19 October to Thursday, 1 November
Open Tuesday – Friday 10:00am – 5:00pm and Sat 12:00pm – 5:00pm

More info
W:  www.ecu.edu.au/schools/arts-and-humanities/spectrum-project-space/overview
E: spectrum@ecu.edu.au

Pictured: Meaning Making, Janice Bathurst, Jarrah dyed silk. Image courtesy of the artist.

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The Plague
Mixed media, News, Reviews, Visual arts

Beyond the veil

Review: Aasiya Evans’s ‘Orientalism & Imperialism: Veiled, Unveiled and Reviled’ ·
Spectrum Project Space ·
Review by Belinda Hermawan ·

Aasiya Evans’s solo exhibition at Spectrum Project Space utilises digital engagement and iconography in a piercing commentary on the representations of Arab Muslim stereotypes in the post 9/11 world.

The Pestilence
Missiles and warheads, branded with Anglo-Saxon symbolism, pointed at a mosque in Aasiya Evans’s ‘The Pestilence’.

On entering the first gallery space, it would be easy to think that the fourteen wall hangings were historical tapestries. Recognisable Oriental symbols and patterns catch the eye, rich in colour and complexity, reminiscent of a Persian carpet.

Closer inspection, however, reveals contemporary images: an array of helicopters, with Western flags superimposed; missiles and warheads, branded with Anglo-Saxon symbolism, pointing at a mosque; tanks occupying a sacred space; military-grade bullets framing a religious text; the Star of David in a maze. These vibrant images have been digitally printed onto woven polyester – as though new awareness is being woven into traditional forms, inviting us to question the Islamophobic status quo. Evans reminds of the constructs we have applied to our perception of the Middle East. In Unveiled, for instance, a Muslim woman looks out at us, as if asking us “Do you see me or do you only see my niqab?” This set of fourteen art works is as confronting as it is breathtaking.

The Crude Drill
These vibrant images have been digitally printed onto woven polyester – as though new awareness is being woven into traditional forms, inviting us to question the Islamophobic status quo. ‘The Crude Drill’ by Aasiya Evans.

In the second gallery space, Evans has constructed four sculptures out of hard clay. These seem to be an expression of the way in which Western media has dehumanised Islam, stripping it of beauty and religiosity and focusing instead on the “oppressed” Arab Muslim female. The sculptures are reminiscent of pillars, a representation of the foundations of the religion. In this context, religion is like a plant that, left alone, flourishes. When an outside force continually strikes at its environment, however, its existence is compromised, stripped; the cylinders on two of the structures have been exposed, cut into, with leaves receding at the base.

Adjacent to these structures is a projected audio-visual installation, a monochrome kaleidoscope of motifs and symbols, through which the East and West collide. The movement of these emblems – each laden with its own meaning – speaks to the way in which culture and traditions intersect in our world; layering, spinning, shearing, multiplying, disappearing, reappearing.

Evans has successfully and commendably created works which are multi-dimensional and thought-provoking in the way they approach our biases.

Aasiya Evans’s ‘Orientalism & Imperialism: Veiled, Unveiled and Reviled’ is at Spectrum Project Space until August 24.

Pictured top: A detail from ‘The Plague’ by Aasiya Evans.

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Work by Harrison See
Installation, Mixed media, News, Reviews, Visual arts

In the face of waste

Review: Brenton Rossow, Darren Tynan, Harrison See, Zhang Lianxi  and Rebecca Jensen, “Paradise’s Parasite III” ·
Spectrum Project Space, ECU Mt Lawley, 13 July ·
Review by Miranda Johnson ·

“Paradise’s Parasite III”, at Spectrum Project Space, is a group show that explores humankind’s parasitic relationship with our natural world. Created as a dialogue between Edith Cowan University and Shanghai’s University of Science and Technology, the artists featured – Brenton Rossow, Darren Tynan, Harrison See, Zhang Lianxi and Rebecca Jensen – all have connections with both China and Australia, creating a link between the two countries through their work.

As I was in the gallery, it struck me that Australia has a similarly parasitic relationship with China through the avenue of our own waste. Until recently, the majority of Australian household recyclables, particularly paper and plastic, were sold to China. However, a recent change in import restrictions has meant that this can no longer be the case, which has led to a reckoning within Australian local councils and waste processing factories; no longer able to conveniently offload our leftovers out of sight and mind, the efficacy of recycling and our impact upon the planet has been firmly placed back in the national conversation.

work by Brenton Rossow
The bits of waste that you want to recycle but are never quite sure if you are allowed to reappear in Brenton Rossow’s works. Pictured here is his Mushroom Chest, Found seat, wooden possum box, baby doll parts. Photo: Derren Hall.

However, it’s the bigger objects, not necessarily the everyday paper and plastic recycling, that tend to appear most prominently in this show, particularly in Rossow’s works. The bits of waste that you want to recycle but are never quite sure if you are allowed to – such as baby dolls, old kettles, ironing boards and fridge shelving – reappear. Sometimes they are repurposed in different ways to create new shapes, such as Ned’s Hideout, which recreates Ned Kelly’s hiding spot out of found tin (bullet holes included), an exhaust pipe, a mudflap and a truck windscreen wiper. Other items Rossow keeps as found, once-usable objects such as a kettle and a bedpan irrevocably distorted into twisted metal, removed from any form of use-value they may have once had.

The gallery is dotted with plinths and metal shelves displaying various objects in this way, somewhat akin to a junk shop full of other people’s trash (or treasures). In the back room, Zhang Lianxi’s video work shows a grasshopper on a road tarmac, the insect shuddering with the force of the wind as cars roar past, seemingly aware of the peril it’s in but unable to escape. In the background, Darren Tynan’s sound piece of crickets and other sounds of the natural world provides another layer to the interactions between man-made and natural environments.

Lianxi and Tynan’s works provide something of a respite from the numerous objects in the gallery space, which at times felt a little overwhelming and in need of paring back… but of course, this is precisely the way one should feel when faced with the proof of our own waste products, twisted and rusting in front of our eyes. No longer useful, the works show the inefficacy of our attitudes towards waste, recycling, global trade and consumer capitalism, and the ways in which our decisions about our own consumption ripple across cultures, environments and generations.

“Paradises Parasite” is showing at Spectrum Project Space, Edith Cowan University, Mt Lawley until July 26.

Top image: ‘Unstable Earth Sky VI, VII and VIII’, Harrison See, Oil on canvas. Photograph courtesy of the artist.

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The plague
August 18, Calendar, Visual arts

Visual arts: Orientalism & Imperialism: Veiled, Unveiled and Reviled

10 – 24 August @ Spectrum Project Space ·
Presented by Aasiya Evans ·

Opening Friday, 10 August, 6 – 8pm
Runs 11 – 24 August Tues – Fri 10am – 5pm; Sat 12 – 5pm

Edith Cowan University’s (ECU) Spectrum Project Space presents solo exhibition Orientalism & Imperialism: Veiled, Unveiled and Reviled by South African born artist Aasiya Evans. Her solo exhibition through digital engagement creates a unique dramaturgy in navigating the Oriental/Occidental dialogue through a racial discourse of Othering.

The Arabian Nights, The Thousand and One Nights, popular novella as an archetypal case study assists as a default background for Orientalism & Imperialism: Veiled, Unveiled and Reviled that addresses the importance of this text’s cultural continuity in perpetuating stereotypes and misinformation in the present day. Furthermore, it draws parallels with current events in similitude with how Arab Muslims are portrayed not only within contemporary Australian society but globally embedded within our social political entertainment network.

Through her praxis Evans tackles these mythic culturally coded anxieties of Islamophillia and Islamophobia to exhibit a comprehensive analysis of markers, signs and symbols that eventuate in dehumanising and desubjectifying the Arab, that have been tattooed on the Islamic character.

Evans’ artwork inspired by medieval wall hangings and Persianate carpet designs parlay in-betwixt and in-between eastern and western art and culture. Through replications of both familiar leitmotifs and geometric patterns harnessing the idea of the Islamic carpet as a canvas her work takes on these concepts through the use of allegory by conveying hidden messages through symbolic imagery. Evans’ artwork opens up a serious discourse of the Oriental/Occidental processes manifesting from the split of the in-betwixt and in-between, real and unreal, propagandist and political art, veiling and unveiling, war and spirituality by ambivalently unifying binate polarities of inclusion and exclusion, through art and culture.

Evans’ designs are the extent of the impact of western interventions felt through the Islamic cultural practice and how hegemonic aesthetics of the stereo-terror-type that combined with popular fairy tale fiction negates a critical engagement of unchallenged western Imperial historical fact found in fiction, and patented through a post 9/11 atmosphere and evidenced in our popular media culture.

The exhibition maintains an emphasis of the unheimlich as a reference to the state of unease coming from the artists’ lifeworld. Orientalism & Imperialism: Veiled, Unveiled and Reviled emulates a reflexive psychological connection to an Apartheid relationship in association to her childhood diaspora, its resurrection in her current life in Australia definable in her design and digital series. Evans’ aim through visual digital imagery is to demonstrate “the extremity of colonial alienation of the person as, the end of an ‘idea’ of the individual (…)” (Bhabha, 2012, p. 41).

Orientalism & Imperialism: Veiled, Unveiled and Reviled will be officially opened by Dr. Nicola Kaye on Friday, 10 August at 6:00pm. The exhibition is open to the public from Saturday, 11 August to Friday, 24 August at Spectrum Project Space, Mount Lawley Campus, Edith Cowan University.

More info
W: www.facebook.com/events/179502856072585/
E: spectrum@ecu.edu.au

Pictured: Details from ‘The Plague’, Aasiya Evans. Courtesy of the artist.

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